Cat Town (NYRB Poets) by Sakutaro Hagiwara, Hiroaki Sato

By Sakutaro Hagiwara, Hiroaki Sato

Modernist poet Sakutarō Hagiwara's first released publication, Howling on the Moon, shattered traditional verse types and remodeled the poetic panorama of Japan. of its poems have been got rid of on order of the Ministry of the inner for "disturbing social customs." in addition to the whole thing of Howling, this quantity contains all of Blue Cat, Hagiwara's moment significant assortment, including Cat city, a prose-poem novella, and a considerable number of verse from the remainder of his books, giving readers the complete breadth and intensity of this pioneering poet's striking paintings.

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The Unraveling Archive: Essays on Sylvia Plath. Ed. Anita Helle. Ann Arbor: U of Michigan P, 2007. 3964. Examines the relationship between Plath’s politics and her art. Includes analysis of Plath’s textual annotations and journals. Plath, Sylvia. Interview with Peter Orr. 1962. The Poet Speaks: Interviews with Contemporary Poets Conducted by Hilary Morrish, Peter Orr, John Press, and Ian Scott-Kilvery. New York: Routledge, 1966. Lively interview provides insights into Plath’s Cambridge experience and her admiration for her contemporaries, as well as her interest in history, medicine, and politics.

The following year, she was awarded a Eugene F. Saxton Fellowship to write her first novel, The Bell Jar (first published in England in 1963 under the pseudonym Victoria Lucas). Although Plath had published poetry and short fiction in countless literary magazines since her undergraduate days, her work was not widely known until after her 1963 death by suicide at the age of thirty. By the time her second book of poems, Ariel (left in manuscript form on her desk when she died and edited by her husband, poet Ted Hughes), appeared in England (1965) and the United States (1966), Plath had achieved posthumous fame as a feminist icon.

Pairing the cityscape of New York with the electrocution of the Rosenbergs is Plath’s way of aligning the city with Cold War and nuclear holocaust fears. Plath repeatedly shows the city to be a place of pollution and destruction, removed from nature or distorting of nature, and harmful to Esther. Esther knows that something is wrong and describes her inability to make choices as electrons that are unable to react: “I just bumped from my hotel to work and to parties and from parties to my hotel and back to work” (3).

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